When My Brother Was An Aztec

When My Brother Was An Aztec

Book - 2012
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"I write hungry sentences," Natalie Diaz once explained in an interview, "because they want more and more lyricism and imagery to satisfy them." This debut collection is a fast-paced tour of Mojave life and family narrative: A sister fights for or against a brother on meth, and everyone from Antigone, Houdini, Huitzilopochtli, and Jesus is invoked and invited to hash it out. These darkly humorous poems illuminate far corners of the heart, revealing teeth, tails, and more than a few dreams.

I watched a lion eat a man like a piece of fruit, peel tendons from fascia
like pith from rind, then lick the sweet meat from its hard core of bones.
The man had earned this feast and his own deliciousness by ringing a stick
against the lion's cage, calling out Here, Kitty Kitty, Meow!

W ith one swipe of a paw much like a catcher's mitt with fangs, the lion
pulled the man into the cage, rattling his skeleton against the metal bars.

The lion didn't want to do it--
He didn't want to eat the man like a piece of fruit and he told the crowd
this: I only wanted some goddamn sleep . . .

Natalie Diaz was born and raised on the Fort Mojave Indian Reservation in Needles, California. After playing professional basketball for four years in Europe and Asia, Diaz returned to the states to complete her MFA at Old Dominion University. She lives in Surprise, Arizona, and is working to preserve the Mojave language.


Publisher: Port Townsend, Wash. : Copper Canyon Press, c2012
ISBN: 9781556593833
155659383X
Branch Call Number: 811.6 D543w 2012
Characteristics: xiii, 103 p. ; 23 cm

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leahasewell
Nov 02, 2016

Natalie Diaz’s book of poems, When My Brother Was an Aztec, is heavy with figurative devices that lend to a magical and sensual reading experience. Diaz’s collection bravely and mercilessly explores the trials of dealing with a brother dragged into dark depths by a crystal meth addiction. The text is additionally shot through with social and cultural meaning via the recurring motifs of poverty, reservation life, and Mojave identity and history. In its love poems, the book rises to brighter waters; yet the love poems maintain Diaz’s fearless and biting imagery found throughout. Diaz accomplishes vivid storytelling that isn’t merely intellectual entertainment. It is a visceral experience felt in the skin and a reminder of the power of words, when those words are chosen with precision, and the stories conveyed with imagination.

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